The ACHILLITO CHIESA 
COLLECTION «+: Part / 





FLEMISH AND DUTCH PAINTINGS 
AND ITALIAN PRIMITIVES «+ «+ + 


AMERICAN ART ASSOCIATION: INC. 
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SEXHIBITION & UNRESTRICTED PUBLIC SALE AT THE 


AMERICAN ART GALLERIES 


MADISON AVENUE : s6tx to 57TH STREET 
NEW YORK. 


Te Achillito Chiesa Collection 7 Part I 

Paintings y Catalogue Numbers 1-63 
Will Be Sold on Friday Evening, Novem- 
emo 7.1925, at 8:30 O'Clock +. 7 » 
The Collection Will Be On Free Public 
View from Saturday, November 21, Until 
Time of Sale y Weekdays from g a.m. to 6 p.m. 


Sunday, November 22 from 2 to 5 p.m. 





Sales Conducted By Mr. O. Bernet and Mr. H. H. Parke 
AMERICAN ART ASSOCIATION: INC, 


Managers 


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THE COLLECTION OF 


ACHILLITO CHIESA .- ESQ. 


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Pievidoll AND DUTCH: PAINTINGS 
Seger AV - XVI- XVII CENTURIES 


ITALIAN PRIMITIVES AND 
RENAISSANCE EXAMPLES 


A SMALL GROUP of CANVASES 

BY ENGLISH » FRENCH AND 

SPANISH ARTISTS OF THE 
XVI-XIX CENTURY 


CATALOGUE WRITTEN BY 
HOFSTEDE DE GROOT + The Dutch Expert 
G:J: HOOGEWERFE » Director of the National 
Folland School of Cfine Arts in Rome And 
GIACOMO DE NICOLA »* Director of the 

Bargello Museum * Florence 





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CONDITIONS OF SALE 


I. REJECTION OF BIDS: Any bid which is not commensurate with the value 
of the article offered, or which is merely a nominal or fractional advance, may be 
rejected by the auctioneer if in his judgment such bid would be likely to affect the 
sale injuriously. 


II]. THE BUYER: The highest bidder shall be the buyer, and if any dispute arises 
between two or more bidders, the auctioneer shall either decide the same or put up 
for re-sale the lot so in dispute. 


III. IDENTIFICATION AND DEPOSIT BY BUYER: The name of the buyer of 
each lot shall be given immediately on the sale thereof, and when so required, each 
buyer shall sign a card giving the lot number, amount for which sold, and his or her 
name and address. 

A deposit at the actual time of the sale shall be made of all or such part of the 
purchase prices as may be required. 

If the two foregoing conditions are not complied with, the lot or lots so pur- 
chased may at the option of the auctioneer be put up again and re-sold, 


IV. RISK AFTER PURCHASE: Title passes upon the fall of the auctioneer’s 
hammer, and thereafter the property is at the purchaser’s risk, and neither the consignor 
nor the Association is responsible for the loss of, or any damage to any article by theft, 
fire, breakage, however occasioned, or any other cause whatsoever. 


V. DELIVERY OF PURCHASES: Delivery of any purchases will be made only 
upon payment of the total amount due for all purchases at the sale. 


VI. RECEIPTED BILLS: Goods will only be delivered on presentation of a re- 
ceipted bill. A receipted bill presented by any person will be recognized and honored 
as an order by the buyer, directing the delivery to the bearer of the goods described 
thereon. If a receipted bill is lost before delivery of the property has been taken, the 
buyer should immediately notify the Association of such loss. 


VII. STORAGE IN DEFAULT OF PROMPT PAYMENT AND CALL- 
ING FOR GOODS: Articles not paid for in full and not called for by the purchaser or 
agent by noon of the day following that of the sale may be turned over by the Asso- 
ciation to some carter to be carried to and stored in some warehouse until the time 
of the delivery therefrom to the purchaser, and the cost of such cartage and storage 
and any other charges will be charged against the purchaser and the risk of loss or 
damage occasioned by such removal or storage will be upon the purchaser. 

In any instance where the purchase bill has not been paid in full by noon of the 
day following that of the sale, the Association and the auctioneer reserve the right, 
any other stipulation in these conditions of sale notwithstanding, in respect to any or 
all lots included in the purchase bill, at its or his option, either to cancel the sale 
thereof or to re-sell the same at public or private sale without further notice for the 
account of the buyer and to hold the buyer responsible for any deficiency and all losses 
and expenses sustained in so doing. 

VIII. SHIPPING: Shipping, boxing or wrapping of purchases is a business in 
which the Association is in no wise engaged, but the Association will, however, afford 
to purchasers every facility for employment at current and reasonable rates carriers 


and packers; doing so, however, without any assumption of responsibility on its part 
for the acts and charges of the parties engaged for such service. 


IX. GUARANTY: ‘The Association exercises great care to catalogue every lot 
correctly and endeavors therein and also at the actual time of sale to point out any 
error, defect or imperfection, but guaranty is not made either by the owner or the 
Association of the correctness of the description, genuineness, authenticity or condition 
of any lot and no sale will he set aside on account of any incorrectness, error of cata- 
loguing or imperfection not noted or pointed out. Every lot is sold “as is’ and with- 
out recourse. 

Every lot is on public exhibition one or more days prior to its sale, and the 
Association will give consideration to the opinion of any trustworthy expert to the 
effect that any lot has been incorrectly catalogued and in its judgment may there- 
after sell the lot as catalogued or make mention of the opinion of such expert, who 
thereby will become responsible for such damage as might result were his opinion 
without foundation. 


X. RECORDS: The records of the auctioneer and the Association are in all 
cases to be considered final and the highest bid shall in all cases be accepted by both 
buyer and seller as the value against which all claims for losses or damage shall lie. 


XI. BUYING ON ORDER: Buying or bidding by the Association for responsible 
parties on orders transmitted to it by mail, telegraph, or telephone, if conditions per- 
mit, will be faithfully attended to without charge or commission. Any purchases so 
made will be subject to the foregoing conditions of sale, except that, in the event of 
a purchase of a lot or one or more books by or for a purchaser who has not through 
himself or his agent been present at the exhibition or sale, the Association will permit 
such lot to be returned within ten days from the date of sale, and the purchase money 
will be refunded, if the lot differs from its catalogue description. 

Orders for execution by the Association should be given with such clearness as 
to leave no room for misunderstanding. Not only should the lot number be given, 
but also the title, and bids should be stated to be so much for the lot, and when the 
lot consists of one or more volumes of books or objects of art, the bid per volume 
or piece should also be stated. If the one transmitting the order is unknown to the 
Association, a deposit must be sent or reference submitted. Shipping directions should 
also be given. 

PRICED CATALOGUES: Priced copies of the catalogue, or any session thereof, 
will be furnished by the Association at charges commensurate with the duties involved 
in copying the necessary information from the records of the Association. 

These conditions of sale cannot be altered except by the auctioneer or by an 
officer of the Association. 


AMERICAN ART ASSOCIATION, Inc. 


OTTO BERNET MANAGERS 
HIRAM H. PARKE 
AUCTIONEERS 


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A FOREWORD 


HROUGH inscrutable prank of Fate or Fortune the great 

Chiesa Collection of paintings, assembled through years of 

devotion of a father and years of indefatigable enthusiasm 

of a son, is to be dispersed at public salein New York. The 

elder collector, Achille Chiesa, amassed a fortune at Milan 
in the business of exporting and importing, and devoted the faculty 
of astuteness that had brought him wealth to the study and acquisi- 
tion of works of art. His son Achillito Chiesa inherited a share of the 
fortune and a disproportionate share of the collector’s instinct, which 
made it impossible for him to resist the lure of fine works of art. 

He bought until the magnitude of the Collection reached a remark- 
ably high total in dollars. And he bought largely on credit—which 
led to the inevitable end, and committees of bankers and other 
creditors were formed. The Italian Government was called into con- 
sultation in accordance with law, and a way sought to preserve the 
Collection. When sale was finally decided upon, the Government 
exercised its legal right and inventoried certain paintings and objects 
as national treasures. But it was not in funds to make purchases. 
Collectors in Italy hesitated at the huge sums requisite, although 
many of them wanted some of the canvases. : 

Finally the Government relinquished its hold and the way was 
opened for the disposal of the Collection. It was decided to send it to 
America as the great art market of the world, and the American Art 
Association, Incorporated, was selected as manager of the auction, 
strictly on the usual commission basis. The Collection is so large 
that its dispersal at one sale is impracticable on numerous grounds, 
and there will be several sessions at different dates. The first will 
be a single evening’s sale of some three score Italian, Dutch, Spanish, 
French and Flemish paintings, comprising a display of higher quality 
than has been offered in New York in recent years. Byzantine art, 
Italian Primitives and Renaissance painters, and the fascinating 
Dutchmen of the sixteenth and seventeenth centuries; now and again 
a Spaniard or a Frenchman or an Englishman, some as late as the 
eighteenth and early nineteenth century. The paintings have been 
catalogued in Europe for this sale, those of the Dutch and Flemish 
schools by Hofstede de Groot, the recognized Dutch expert, and by 
G. J. Hoogewerff, Director of the National Holland School of Fine 
Arts in Rome, and those of the Italian School by Giacomo De Nicola, 
Director of the Bargello Museum, Florence. Some have been passed 
upon by Bernard Berenson. 

The Chiesa Collection has been visited, and revisited, by American 
collectors and picture buyers, some of whom heard of it and of its 


possessor upon learning that desired and sought-after canvases which 
they found in the galleries of European dealers had already been 
bespoken by Mr. Chiesa. And once he had them they were not again 
to be bought—until now. Some notable and coveted canvases were 
loaned to friends—and recovered with difficulty. Some, loaned to 
museums, have been mentioned and commented upon in conspicuous 
and conservative guide books. 


The Memling, of which Mr. Hoogewerff speaks, is surely worthy 
of a wider mention and will repay study, as will The Madonna and 
Child by the Master of the Death of the Virgin. The characters in 
the Portrait of a Gentleman by Miereveld and the Portrait of a Lady 
by van Santvoort are alive today as the day they were put upon 
canvas. As much may be said for the van Ceulen Portrait of a 
Lady, while the Man with a Black Skullcap Holding a Book by 
Rembrandt’s pupil Ferdinand Bol has a solidity and richness far 
deeper than the same painter’s portraits of a more superficial elegance 
which are more frequently seen here. 


Benjamin Cuyp’s Annunciation to the Shepherds has the wealth of 
color and depth of religious feeling which characterize the work of the 
American President of the Royal Academy who followed Sir Joshua 
Reynolds in office, Benjamin West; and Bellegambe’s Holy Virgin 
with the Child has a resignation and aspiration inescapable and a 
piety naive in the expression of its accessories. 


Van Dyck comes in with a more modern stroke in the fine Life- 
sized Bust Portrait of a Lady; and the Portraits of a Donor and his 
Wife in the Act of Adoration—although in the catalogue only attribu- 
ted to Bartholomew Bruyn the Elder—are of a staunch validity 
and artistic perception which commend themselves to a discerning 
eye. For a thorough enjoyment of painting peruse the two panels 
by the Master of the Half-length Female Figure, the Virgin with 
Child at a Table and the Virgin Looking Down at the Nude Child in 


her Arms. 


The Portrait of a Dutch Humanist by van Scorel, whose interesting 
life included employment by the Dutch Pope, Adrian VI, is a master- 
piece of expression, and the portraits of SS. Catherine and Barbara 
by an earlier painter eloquently depict the piety of the fifteenth- 
sixteenth century. 


Passing to the Italian School, Piazzetta’s Annunciation is a touching 
and analytical tribute in pigment, and the composition and color in A 
Bishop Reading the Prayer point unmistakably to Tiepolo and his 
Venetian exuberance. The Portrait of a Man witha Beard is a digni- 
fied contribution from the F airfax-Murray Collection, and Sienese 
painting is exhibited in Andrea di Bartolo’s Madonna and Child, as 
it is again in San di Pietro’s Madonna and Child between Saints and 


Angels on a gold background. Two other Madonnas of the Italian 

School which claim attention are by Leonardo’s pupil Boltrafho— 

Romer Crespi Collection, Milan—and by the Florentine Filippino 
ippi. 

At variance with the predominant religious pictures of the Collection 
are two eighteenth century canvases from Spain and France, Goya’s 
Inside a Wine Shop and Boucher’s Sleeping Woman—the latter a 
soberly colorful nude from the Fairfax-Murray Collection. 


New York, October, 1925 Dana H. Carroui 


OF 
GW 


PAINTINGS OF THE DUTCH AND FLEMISH SCHOOLS 


HE present Collection is of special importance on account 

of the numerous and excellent paintings belonging to the 

early schools of the Netherlands and surrounding countries. 

In very few private galleries now existing are the principal 

masters of the fifteenth and sixteenth centuries better 
represented. 

The Memling is a very recent discovery and means an unexpected 
addition to the oeuvre of the painter. Adriaen Isenbrandt, certainly 
not less interesting than his master Gerard David, is represented by 
a charming little panel in the well known, almost mystical style he 
used later. There are two beautiful pictures of Joos van Cleve the 
Elder, who after a sojourn in Italy, was acclaimed a genius of even 
greater inspiration than before. This group is completed by two 
panels of the always noteworthy and gentle artist called ‘““The Master 
of the Half-length Female Figures.”’ 

The two wings of a lost altarpiece and the Holy Virgin by Jean 
Bellegambe will be judged of special interest by everyone familiar 
with the art of the painter, who, together with Quentin Metsys and 
others, closes the century and at the same time opens a new era. 

Hardly any portrait of the early West-European schools is so im- 
pressive as the marvelous head of a woman donor (Life Size Half- 
length Figure of a Lady in the Attitude of Prayer), attributed by us 
to the ‘Master of Moulins,” whose enigmatic but powerful art has 


been the subject of interesting studies during the last years. This 
panel, dating from the end of the fifteenth century, forms a worthy 
pendant to the portrait of a Humanist, by Jan van Scorel, a master 
who held a high position in Dutch art in the period of transition. This 
masterpiece is considered the most striking masculine character- 
study the artist ever produced. 

Joachim Patinir is the first landscape-painter of the Flemish School, 
that is to say, the first artist who reduced the figure element to a 
pleasant detail only. Of this original and very attractive work the 
Collection counts two small specimens of nearly the same size. 

Of Peeter Baltens no picture of greater importance is known than 
the splendid animated landscape with the Parable of the Sower, 
formerly in the Collection of Count Delaroff, whilst the art of the first 
Brueghels is happily represented by the Harvest painted by Peter 
the Younger from the drawing his famous father had left to him. 

As to the Dutch and Flemish pictures of the seventeenth century, 
there are several of no common interest. Although the present 
Collection does not count a Rembrandt nor can boast a Rubens, the 
authentic portraits by Anthony van Dyck and Cornelis de Vos 
supply that want—if a “want” there be. As for the Flemish School, 
Dutch portraitists of various types, as Michiel van Miereveld, 
Cornelis Janssens van Ceulen and Dirck van Santvoort—the latter a 
pupil of Rembrandt—are auspiciously represented with characteristic 
works of their brush. Sir Peter Lely, the Dutch follower of van 
Dyck, who stayed forty years in England, completes the group in a 
fortunate way. Of special interest is the Interior with a Family 
eee by Isaac Koedyck, a master who has come to the front of 
ate 

Of the Dutch painters of genre the Annunciation to the Shepherds 
by Benjamin Cuyp will appeal to many a connoisseur, while the 
presence of an authentic and typical work of Jan Steen is always 
noteworthy. Jacques van Oost, on the other hand, may be considered 
a substitute for Teniers, but where the paintings of the latter master 
are very numerous, the Merry Company signed by his fellow-country- 
man is a rather scarce specimen of its type. 

Jacob van Ruysdael too is absent but yet in evidence, owing to the 
fine landscape of one of his best followers, Nicolaas Molenaer. Works 
of his and of Roelof de Vries are often attributed to their master. 
The more heroic interpretation of nature much ex vogue in the latter 
part of the century, 1s demonstrated by the Landscape with Sunset 
of Jacques d’Arthois of Brussels. 


Rome, August, 1925 G. J. HooGEwerFF 


PAINTINGS OF THE ITALIAN SCHOOL 


HE Chiesa Collection made with an exquisite understand- 
ing of art, with the passion of the man who collects for 
himself only and for the satisfaction of his own spirit, 
offers to the lovers of Italian art in its various periods an 
assemblage of objects of value that few collections of the 
present day could achieve. From the ingenuous and austere primi- 
tives, with their early attempts at artistic perfection, to the grandeur 
and the grace of the successive periods, everything that has con- 
tributed to the evolution of art is here represented. 3 

The Italo-Byzantine ¢avoletta showing The Descent from the Cross 
is a painting of exceptional rarity both in respect to its period and its 
preservation. 

Representing the Venetian School of the Trecento are two pictures 
by the rare artist, Lorenzo Veneziano. The skill with which The 
Birth of Saint Nicholas is represented, and the preservation of the 
surface of the paintings accords a great importance to these two 
pieces. 

Segna di Bonaventura, the most accurate and faithful pupil of 
Duccio di Buoninsegna, the great founder of the Sienese School, is 
represented by an agreeable example of the primitive period of this 
aie. a picture in which sentiment and jeraticita are mingled in 
amicable accord; while a pleasing picture by Sano di Pietro, almost 
certainly executed under the guidance and in the workshop of his 
master Sassetta, and a most gracious and delightful little painting by 
Andrea di Bartolo complete the examples of the great Sienese School, 
which left such an important influence in the field of art. 

What can we say of such a picture as the Madonna and Child of 
Filippino Lippi? The great Florentine Quattrocentist in this painting 
unites to the beauty and grace of the figures a pleasant background of 
landscape, which constitutes in itself a charming little picture. 

The female portrait by Sebastiano Mainardi was certainly executed 
in the studio of Ghirlandaio, his master and relation, and is a work of 
undeniable artistic interest. 


The Virgin with The Book by Giovanni Antonio Boltraffio which 
came from the Crespi to enrich the Chiesa Collection is a most inter- 
esting work of the Lombard School of the XV-XVI century. Boltraffio, 
one of Leonardo’s beloved pupils, and worthy follower of the master 
from whom he learned the science of sculpture, skilful and rich color, 
and certainty and diligence of execution, and whom he may be said 
to have approached in the facility of his drawing, executed this picture 
during the period of his full artistic maturity. Madonna and Child 
was painted between 1510 and 1515, a space of time in which the 


painter completed the fresco of the Madonna with Founder in S. 
Onofrio at Rome and painted the Madonna and Child of the Loeser 
Collection at Florence. 

The Venetian Renaissance with its color comes to life with its 
characteristics of freedom of action and breadth of view in the works 
of three separate artists: The double portrait by Vittore Belliniano, 
which was for many years in the Kaiser Friedrich Museum in Berlin 
(No. 56 of the catalogue) is undeniably a work of sufficient interest 
and importance to have justified the exchange which was effected by 
the offer of a painting by Albrecht Durer. 

The virile half-length portrait by Vincenzo Catena, nobleman and 
painter and pupil of Giambellino, is a work valuable both for its 
truth and for the technical quality of the painting visible in it; 
while Autumn of Paris Bordone is a pleasant and notable painting 
which could lead one to think, with a great Italian critic, that “Paris 
was always lively and sometimes exquisite.” 

We come to the Venetian XVIII Century School with its greatest 
master Tiepolo; and a second painter of note, Giovanni Battista 
Piazzetta. Tiepolo, a painter of inexhaustible fantasy, geniality and 
grandeur of conception, is represented in this Collection by a small 
study depicting a bishop in prayer. The intrinsic qualities of the 
painting and the fantasy visible in it being certain grounds for the 
attribution. The Annunciation of Piazzetta, certainly one of his best 
works, was chosen for the exhibition of paintings of the XVII and 
XVIII centuries at the Pitti Palace in Florence. 

The delightful signed and dated picture by Boucher, rightly called 
the painter of the graces and a beautiful feminine portrait signed by 
ee offer interesting Cnn of two diverse periods of the French 
Schoo 


Not least, the art of Spain, is shown in two beautiful canvases (one 
signed) by Francesco Goya, master of color and of vivacity. 


Mian, September, 1925. Lurc1 ALBRIGHI 


Note: Mr. Albrighi has had an intimate acquaintance with the entire Collection during 
the greater part of its assembling by the Chiesas, father and son. 


JEAN BAPTISTE MONNOYER 


Born at Lille 1634, Member of the Academy in Paris 
1665. Died in London 1699. 


I—FLOWERPIECE 


A bouquet of flowers in a gilt chased vase standing on a grey stone 
slab. There are tulips, roses, pinks, gardenias, and other flowers. 


On canvas: height, 26 inches; width, 19% inches. 





No. 1—FLOWERPIECE 
By JEAN BAPTISTE MONNOYER 





No. 2—A BASKET WITH FLOWERS ON A RED MARBLE TABLE 
By RACHEL RUYSCH 


RACHEL RUYSCH 


Born at Amsterdam 1664. Wife of the portrait 
painter, Jurian Pool. Died at Amsterdam 1750. 


2—d BASKET WITH FLOWERS ON A RED MARBLE 
TABLE 


White, pink and red roses with other flowers, some hanging over the 
border of the basket. On one of the flowers a bee; on the table a 
big fly and above the flowers a butterfly. 


On wood: Height, 16% inches; width, 14 inches. 


SIMON JOHANNES VAN DOUW 


Born about 1630. Master in Antwerp 1654. From 
1656 to 1657 in the Guild of Middelburg. 


3—TWO HORSEMEN WATERING THEIR HORSES AT A 
FOUNTAIN NEAR A WALL OF ROCKS 


One has dismounted from his spotted white horse, the other, in a 
blue dress and a white turban, is mounted on a brown mare. In 
the right foreground a dog; in the distance a farm. Signed and 
dated 1654. 

On wood: Height, 834 inches; length, 11% inches. 


MlOd NVA SANNVHOL NOMIS 44 
SMOOU AO TIVM V AVAN NIV.LNDOW 
V LV SASYOH MAHL ONIVALVM NAWASYOH OML—* ON 








No. 4—WINTER LANDSCAPE 
By NICOLAAS MOLENAER 


NICOLAAS (KLAES) MOLENAER 


Born evidently at Haarlem, about 1630. From 1651 in 
the Guild. Died at Haarlem 1676. Pupil of Jacob van 
Ruysdael. 


4—WINTER LANDSCAPE 


A winter scene at the outskirts of a town, seen on the left. A white 
horse is eating from a box, while beside it is a brown horse; two men 
are near a sledge. In the left foreground a man is buckling on the 
skates of another and in the background several people are skating. 


On wood: Height, 1514 inches; width, 1134 inches. 


ADAM FRANS VAN DER MEULEN 


Born in Brussels 1632. Pupil of Peter Snayers. In 

1665 Colbert invited him to the Royal Gobelins fac- 

tories in Paris. In 1673 member of the Academy. 
Died in 1690. 


s—A WOODED LANDSCAPE WITH A COMPANY OF 
NINE PEOPLE 


To the right cavaliers and their servants halting before an inn; on 
the left a group of three resting. In the centre a view towards the 
distance, where still further people are seen. 


On canvas: Height, 23 inches; length, 29% inches. 


NATOAW AATd NVA SNFUI WFP 42 
ATdOdd ANIN JO ANVAWOO V HLIM Fd VOSGNVT GAGOOM V—S ON 





AYMAAPS LGNVTAION “J 
AdVOSGNVI GNVIGOOM AMOOU V—9 ON 





ROELANDT SAVERY 


Born at Courtrat 1576. Died in Utrecht 1639. 


6—A ROCKY WOODLAND LANDSCAPE 


On the right a group of lions before trees; various remains of ani- 
mals devoured by them in the foreground. On the left, near a high 
cascade, several panthers, and in the sky a large bird of prey. 


On wood: Height, 15% inches; length, 2814 inches. 


GUILLIAM (WILLEM) VAN HERP 


Born at Antwerp about 1614. Pupil of Damuiaan 
Wortelmans, and later, in 1628, of Biermans. Died 


at Antwerp 1677. 


7—THE FOUR SEASONS 


(4) SPRING; symbolized by shearing sheep, done by an old man, 
assisted by a boy. On the right two women are preparing dinner; 
one gives a bowl to a boy, and a young man, with a stick over his 
shoulder to which are attached two cocks, is looking at the scene. 


On wood: Height, 1734 inches; length, 25% inches. 
(B) SUMMER; symbolized by a huntsman with three dogs on the 


left, and a group of four peasants, two men and two women on the 
right. One of the women is milking a goat. 


On wood: Height, 17% inches; length, 25% inches. 
[Continued 


NWOLAV (9) 





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SNOSVHUS UNOA AH.L—4 ON 


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(P9p]2u0D) SNOSVAS ANOA AHIL—4 ON 


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GUILLIAM (WILLEM) VAN HERP 


Born at Antwerp about 1614. Pupil of Damiaan 
Wartelmans, and later, in 1628, of Biermans. Died 


at Antwerp 1677. 


7—THE FOUR SEASONS (Concluded) 


(C) AUTUMN; symbolized by the vintage. On the right various 
persons collecting grapes accompanied by a dog; in the centre a 
man with bare feet treading grapes; on the left a man putting grapes 
into a tub and a woman on her knees testing the mash. 


On wood: Height, 1734 inches; length, 254 inches. 


(D) WINTER; a snowy landscape symbolizing winter. In the cen- 
tre of the landscape two men are loading fire-wood on an ass, a third 
one, on the left is chopping wood, near him a dog. On the right 
two ducks are swimming and in the background is a house, with 
people before it preparing the meal. 


On wood: Height, 17% inches; length, 25 inches, 


JACQUES D’ARTHOIS 


Born at Brussels 1613. Pupil of Jan Mertens. Died 
at Brussels in 1686. 


8—LANDSCAPE WITH SUNSET 


A hilly, wooded landscape; on the left, the setting sun reflected in 
a pond; on the right, on a road along the wooded hills, a shepherd 
in red, playing the flute as he leads his flock, followed by another 
shepherd. Behind, a gentleman with a white dog. 


On wood: Height, 19 inches; length, 36% inches. 


Note: An autograph certificate of authenticity and description signed by Com. Hofstede 
de Groot accompanies this painting and will be given the purchaser on request. 


SIOH.LYUF.d SANODKL *¥ 
LASNOS HLIM AdVOSANVI—S8 ON 








No. 9—THE CONVALESCENT 
By JAN STEEN 


JAN STEEN 


Born at Leiden 1626. Studied probably with Nicolas 
Knupfer at Utrecht and later with Jan van Goyen at 
the Hague. Student in the Leiden University 1646; in 
the Corporation of painters at The Hague, 1649-54; 
in Haarlem 1661-69; at Leiden in 1672; died there 


1679. 
g—THE CONVALESCENT 
A woman seated on a bench facing front, with clasped arms, hold- 
ing in the right hand a medicine-bottle. She wears a dark red petti- 


coat with a black jacket and hood. 


On canvas: Height, 16 inches; width, 1334 inches. 


JACOB DUCK 


Born at Utrecht about 1605. Died after 1660. 


IoO—LOVE AND BACKGAMMON 


A cavalier, seated at the right, is playing backgammon with a young 
woman, seated at the left; she is just making a play. Behind the 
table an old woman sits smoking and looking at the game. 


On wood: Height, 13 inches; width, 11% inches. 





No. 10-LOVE AND BACKGAMMON 
By JACOB DUCK 





No. 11—VIRGIN AND CHILD WITH ST. ANNE 
SCHOOL OF HANS MEMLING 


SCHOOL OF HANS MEMLING 


Flemish, born about 1425, died at Bruges between 
1492 and 1495. Historical painter and probably pupil 
of van der Weyden. 


II—VIRGIN AND CHILD WITH ST. ANNE 


In the left foreground the seated figure of St. Anne in an olive-green 
robe covered with a crimson cloak; her head is shrouded in a white 
veil, and her face bent down towards the closed missal on her lap. 
At the right, the seated Mother, in dark green gown with crimson 
sleeves and grey cloak, holds on her knees the standing nude Child, 
to whom St. Anne proffers a bunch of grapes. Meticulous back- 
ground of a renaissance shrine lavishly sculptured and with a semi- 
circular pediment, before the walls and trees of a city. 


On canvas: Height, 20% inches; width, 15% inches. 


FLEMISH SCHOOL OF THE XV 
CENTURY 


I2—PORTRAIT OF CHARLES VII, KING OF FRANCE 


Head and shoulders portrait facing half-right; the body draped in 
a dark undergarment covered by a scarlet cloak edged at the neck 
with fur, on the head a low-crowned hat of dark green velvet 
trimmed with leather braid. The face that of a man of perhaps 
thirty, with brown eyes and long, vulpine nose. 


On wood: Height, 10 inches; width, 8 inches. 





No. 12—PORTRAIT OF CHARLES VII, KING OF FRANCE 
FLEMISH SCHOOL OF THE XV CENTURY 





No. 13--MADONNA AND CHILD 
By THE FLEMISH MASTER OF THE DEATH OF THE VIRGIN 


FLEMISH MASTER OF THE DEATH OF 
THE VIRGIN 


Flourtshed in the first half of the XVI century at 
Cologne, the picture of that name being in the Cologne 
Museum. The artist has been identified with Josef 
Cleef or Cleve the Elder (Joos van der Beke) circa 


1490-1540. 
I3—MADONNA AND CHILD 


The Virgin is clad in blue and draped in a scarlet cloak, holding the 
Child, in a loose robe of light blue; the Infant is seated on a moss- 
green velvet cloth spread over a stone table. A faience pot at the 
left holds flowers, of which the Child has plucked one with the 
tight hand. An embrasure at the upper right in the paneled wall 
behind offers a view over wooded landscape beyond. 


On wood: Height, 17% inches; width, 1244 inches. 


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ISAAC KOEDYCK 


Born at Leyden about 1616. Died after 1677, probably 


in Amsterdam. 


I4—-AN INTERIOR WITH A FAMILY GROUP 


In the centre is a table, before which the father, in black, is stand- 
ing on the left side. Behind the table, two sons also in black. On 
the right before the table the mother is seated; a little daughter is 
leaning against her knees, while a still younger daughter is sitting 
in a chair, a basket of flowers on her lap. A maid servant with 
an infant child is standing behind the table. 


On canvas: Height, 3234 inches; width, 27% inches. 





No. 14—AN INTERIOR WITH A FAMILY GROUP 
By ISAAC KOEDYCK 





No. 15—PORTRAIT OF A BEARDED GENTLEMAN 
By MICHIEL JANSZOON VAN MIEREVELD 


MICHIEL JANSZOON VAN MIEREVELD 


Born at Delft 1567, where he studied under W. Wil- 

lems and Augustyns In 1579 he went to the school of 

Antonio Blockland (Monfoort) at Utrecht. From 

1613 in the Delft Guild; from 1625 in the Guild of 

The Hague. Portrait painter to the Princes of Orange. 
Died in Delft 1641. 


I5—PORTRAIT OF A BEARDED GENTLEMAN 


Life size, three-quarter length, standing, turned a little to the right, 
but facing the spectator; the right hand before the breast, the left 
on a book, placed on a table covered with a green cloth. On the 
left: Aetatis suae 35. A° 1615. 


On wood: Height, 44 inches; width, 33 inches. 


DIRCK VAN SANTVOORT 


Born at Amsterdam 1610. Died there 1680. Pupil 
of Rembrandt. 


I6—PORTRAIT OF A LADY 


Life size, three-quarter length, standing, facing the spectator, turned 
a little to the left, in a black dress, a white ruff, the bonnet bordered 
with lace and similar cuffs. In the left hand colored gloves and in 
the right the “chatelaine.” In the left top corner: Aetatis suae 40, 


Anno 1633. 
On wood: Height, 48 inches; width, 34% inches. 





16—PORTRAIT OF A LADY 
By DIRCK VAN SANTVOORT 


No. 





No. 17—PORTRAIT OF A LADY 
By CORNELIS JANSSENS VAN CEULEN 


CORNELIS JANSSENS VAN CEULEN 


Dutch painter, born at London 1593, where he worked 

between 1618 and 1643. He went to Amsterdam in 

1646 and died there in 1664. Influenced by Paulus van 
Somer and Antony van Dyck. 


17—PORTRAIT OF A LADY 


Life size, three-quarter length, standing, turned to the left, touch- 
ing, with the right hand, a pearl necklace on the table at her side, 
which is covered with a red cloth. Clad in a black dress over a 
white underdress, curled hair, pearls at the ears, around the neck 
and the left wrist. 

On canvas: Height, 44% inches; width, 35% inches. 


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Dutch, born at Dordrecht 1611, died in Amsterdam 
1680. Pupil of Rembrandt, whose studio he entered 
about 1630. 


I8—MAN WITH A BLACK SKULL-CAP, HOLDING A 
BOOK 


Half-length figure seated in an armchair, facing the observer; clad 
in sober black, with a white ruff and black skull-cap covering a 
head fringed with white hair. In the left hand a book—a Latin 
treatise on botany—in the right, horn spectacles. The face is of 
great dignity, with blue eyes, full straight nose, white moustache 
and straggling beard. At the right is the inscription: “Aetatis 66 


ANo 1641.” 
On Panel: Height, 32% inches; width, 25 inches. 





No. 13—MAN WITH A BLACK SKULL-CAP HOLDING A BOOK 
By FERDINAND BOL 





No. 193—PORTRAIT OF A LADY 
By SIR PETER LELY 


SIR PETER LELY (PIETER VAN DER FAES) 


Born at Soest 1618. Pupil of Frans Ptetersz de Greb- 
ber at Haarlem. 1641 he went with Prince William 
the II of Orange to London, where he lived until 1680. 


IQ—PORTRAIT OF A LADY 


Life size, three-quarter length, seated. Dressed in a light violet 
gown, cut low, with a blue scarf and a pearl necklace. Her right 
hand rests on a pedestal; with her left hand she caresses a small 
dog. The background on the left is sculptured and on the right 


is a curtain. 
On canvas: Height, 50 inches; width, 40% inches. 


BENJAMIN GERRITSZ CUYP 


Born at Dordrecht 1612. Died there 1652. 


20—THE ANNUNCIATION TO THE SHEPHERDS 


At the upper left the Angel, who appears to six astonished shepherds 
below. On both sides are huts and on the right a number of sheep 
and cows. 


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On wood: Height, 33% inches; length, 45% inches. 


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No. 21—(4) A MOUNTAINOUS AND WOODED LANDSCAPE 
By JAN TILENS 





No. 21—(B) A MOUNTAINOUS LANDSCAPE 
By JAN TILENS 


JAN TILENS 


Born at Antwerp 1589. Master in the Guild 1612. 
Died 1630. He painted his landscapes in the manner 
of Joos de Momper and Lucas van Uden. 


2I—(A) A MOUNTAINOUS AND WOODED LAND- 
SCAPE 


On the right a cascade. Scattered about the foreground stags and 
hinds, nine altogether. 


On wood: Height, 1934 inches; length, 36% inches. 
(B) 4 MOUNTAINOUS LANDSCAPE 


On the right are rocks, with a church on the summit. In the centre 
a view towards the distance. In the foreground various groups of 


figures. 7 
On wood: Height, 19% inches; length, 36% inches. 


JACQUES VAN OOST THE ELDER 


Born at Bruges 1601, died 1671. (Or perhaps Jacques 
van Oost the Younger, his son and pupil, born at 
Bruges 1639, and died there 1713.) 


22—MERRY COMPANY 


A group of eight at a table before a farmhouse. A man on the left 
is sleeping on his arm, resting on the table. A man in the centre, 
in a red costume, faces the spectator, a third one is drinking, and 
a fourth holds up his left hand; the fifth one plays his violin. On 
the right a pig near some barrels. Before the table an overturned 
chair. Authentically signed. 


On wood: Height, 22% inches; length, 28% inches. 


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No. 23—THE MOURNING FOR CHRIST 
SCHOOL OF THE LOWER RHINE 


SCHOOL OF THE LOWER RHINE 


About 1525, under influence of Dutch masters. 


23—THE MOURNING FOR CHRIST 


The dead Saviour resting against the knees of Joseph of Arimathea, 
standing on the left; to the right the Holy Mother, supported by 
St. John and at the feet of Christ, Maria Magdalena in a somewhat 
declamatory attitude, seen from the back. The composition espe- 
cially on the right side, expresses great movement, the coloring of 
the whole scene is vivid and bright. In the background on the left, 
the grave, already prepared, is watched over by an angel; on the 
right a view of hilly country. A fine picture, very characteristic 
of the period. 


Oak Panel, joined crosswise: Height, 18% inches; width, 14 inches. 


JOACHIM PATINIR 


Born about 1485 at Dinant. Settled at Antwerp in 
1515. Died October s, 1524. 


24—(A) LANDSCAPE WITH A CONVENT 


Of the same character and almost of the same size as the following. 
The hollow mountain with the fortresslike monastery, at the en- 
trance of the semicircular huge cavity, is also seen in Patinir’s more 
detailed picture representing the Rest on the Flight to Egypt, prop- 
erty of the Museum at Berlin. Right above the convent, the glori- 
fication of a saint (St. Mary of Egypt’), caught up to Heaven, is 


faintly visible. 
Oak Panel: Height, 10% inches; length, 14 inches. 


Note: The little owl, visible just above the saint, is by no means to be interpreted as 
the “signature” of Henri met de Bles, called ‘Civetta,’ whose technique and colorings are very 
different, 


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JOACHIM PATINIR 


Born about 1485 at Dinant. Settled at Antwerp in 
1615. Died October 5, 1524. 


24—Concluded 
(B) LANDSCAPE WITH ST. JEROME AS HERMIT 


A view of rocks, seashore, a town on a bay, etc. The scenery is ani- 
mated by buildings of various kinds and miniature figures. The 
whole is whimsical but pleasing; the workmanship refined to a high 
degree. Patinir repeated the same motive of curious rock formation 
and background in a large landscape under a quite similar sky, now 
in the Prado Gallery at Madrid. 


Oak Panel: Height, 10 inches; length, 13% inches. 


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JOOS VAN DER BEKE 
(Called JOOS VAN CLEVE THE ELDER) 


Born in Antwerp 1520. Died 1556. 


25—THE HOLY VIRGIN WITH THE CHILD, SITTING 
ON A RICH THRONE OF MARBLE 


The Madonna wears an ample dress of vivid red. ‘The Child is 
playing with a coral rosary or necklace. Characteristic are the orna- 
ments of the throne in the style of the Renaissance. Landscape in 
the background, on both sides. A very good picture from his studio. 


Oak Panel: Height, 20 inches; width, 13V% inches. 





No. 25—THE HOLY VIRGIN WITH THE CHILD, SITTING ON 
A RICH THRONE OF MARBLE 
By JOOS VAN DER BEKE 





No. 26—THE HOLY VIRGIN WITH THE CHILD 


EGAMBE 


By JEAN BELL 


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JEAN BELLEGAMBE 


Born about 1470. Died about 1530 at Douat. 


26—THE HOLY VIRGIN WITH THE CHILD 


Seated on a white marble throne with two young angels at her feet, 
playing on musical instruments. In the style of Memling and exe- 
cuted with characteristics seen frequently in the paintings by this 
master. 


Oak Panel: Height, 1534 inches; width, 934 inches. 
0: 4 & §° Me ead 


SCHOOL OF JAN GOSSAERT 


27—THE HOLY VIRGIN ENTHRONED 


With the Child on her lap, surrounded by three female saints with- 


out attributes. | 
Oak Panel: Height, 18 inches; width, 1334 inches. 





27—THE HOLY VIRGIN ENTHRONED 
SCHOOL OF JAN GOSSAERT 


No. 





No. 22—THE HOLY VIRGIN AND ST. JOSEPH ADORING THE CHILD 
IN: THE RUINED, STABLE 
SCHOOL OF ANTWERP. FOLLOWER OF QUENTIN METSYS 


SCHOOL OF ANTWERP. FOLLOWER OF 
QUENTIN METSYS 


28—THE HOLY VIRGIN AND ST. JOSEPH ADORING 
THE CHILD, IN THE RUINED STABLE 


From the background two shepherds are approaching and beyond 
is a view of a landscape. The Child is lying on a kind of altar. In 
the foreground a staff, a gourd and a linen bag. 


Oak Panel: Height, 17 inches; width, 13% inches. 


ANTHONY VAN DYCK 


Born at Antwerp 1599. Pupil of Hendrick van Balen 
in 1609. Entered Rubens’ studios 1618 as his assistant. 
Visited England and Italy. In 1632 King Charles I 
invited him to England to paint himself and his fam- 
tly. On Rubens’ death he went to Antwerp and Paris, 
but returned to London in 1641 and died there. 


29—A LIFE SIZE BUST PORTRAIT OF A LADY 


Turned to the left, looking at the spectator. In a rich dress, em- 
broidered in gold, and having a lace collar. She wears costly pen- 
dants with pearls in the ears. With the right hand, the only one 
visible, she is touching a necklace about her neck. 


On copper: Height, 20 inches; width, 1534 inches. 





Ne. 29—A) LIFE. SIZE BUST (PORTRAIT OF A LADY 
By ANTHONY VAN DYCK 








No. 30—PORTRAIT OF A LADY 
By CORNELIS DE VOS 


CORNELIS DE VOS 


Born at Hulst 1585. Pupil of Rubens. Died at Ant- 
werp 1651. 


30—PORTRAIT OF A LADY 
The life-sized head of a lady with a ruff and a plain bonnet, looking 


downwards to the left. 
On canvas: Height, 17% inches; width, 14 inches. 


Noth “. h : 4 


SCHOOL OF THE CLOUETS 


XVI CENTURY 


31—PORTRAIT BUST OF LORD BURGHLEY, BAILIFF, 
KNIGHT OF THE ORDER OF THE GARTER 


Wearing a chain and holding a short white staff, the sign of his 
office. Dressed in a black robe, set off with brown fur, and small 
lace collar. On his black cap the medal of the Order and a little 
black ostrich-feather. Grey background. In the upper right corner 
the name, written on a strip of paper, fastened by two seals: “Lord 
Burghley, Baliv.” The name is written over again, but seems au- 
thentic. Over the right shoulder, a coat of arms, surrounded by 
the “garter,” added afterwards to the background. 


Oak Panel: Height, 11 inches; width, 834 inches. 





No. 31—PORTRAIT BUST OF LORD BURGHLEY, BAILIFF, 
KNIGHT OF THE ORDER OF THE GARTER 
SCHOOL OF THE CLOUETS 





STRATE 


2—PORTRAIT OF A YOUNG MAGI 


3 


No. 


E YOUNGER 


OMEW BRUYN TH 


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By BART 


BARTHOLOMEW BRUYN THE YOUNGER 


Son of Bartholomew Bruyn the Elder. Painter of 
Cologne. Follower of his father. Mentioned since 
1550. Died 1610. 


32—PORTRAIT OF A YOUNG MAGISTRATE 


Half-length figure, dressed in black with small cap of the same 
color; against background of brown speckled marble. In his hands 
he holds his gloves and a letter. In the background the following 
inscription: Anno Dnt. 1554. Aetatis suae 20. 


Oak Panel, one piece with the frame, rounded at the top: Height, 
1634 inches; width, 1234 inches. 


BARTHOLOMEW BRUYN THE ELDER 
(Attributed to) 


Born 1493 at Wesel. Settled at Cologne. Died there 
1555: 


33—PORTRAITS OF A DONOR AND HIS WIFE IN THE 
ACT OF ADORATION 


The wings of a triptych; landscape backgrounds. The man, wearing 
a long, fair beard, is dressed in an ample black robe and a cap of the 
same color. The woman is wearing a white headdress and black 
raiment with white lining and a broad belt of gold leather. 


On wood: Height, 26 inches; width, 9% inches. 


Formerly in the Collection J. E. Taylor. The central panel accord- 
ing to reliable information in the de Merode Gallery at Brussels. 


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No. 33—PORTRAITS OF A DONOR AND HIS WIFE IN THE ACT OF 
ADORATION 
By BARTHOLOMEW BRUYN THE ELDER 





No. 34—LIFE SIZE HALF-LENGTH FIGURE OF A LADY IN@HE 
ALDIITDUDE OF PRAYER 
By “THE MASTER OF MOULINS” 


“THE MASTER OF MOULINS” 


Identical with the “Painter of the Bourbons.” French 
school, second half of the XV Century. Active still 
about 1500. 


34—LIFE SIZE, HALF-LENGTH FIGURE OF A LADY IN 
THE ATTITUDE OF PRAYER 


She is represented in a garden, bounded by a brick-wall, and wears 
a brown dress, set off with dark brown fur. The cherry-red sleeves 
of her undergarment are just visible at the wrists. Same color in 
her headdress, bordered with faint gold, and a necklace of gold. 
Important fragment of the right wing of a very large triptych, asis | 
proved by the reverse side showing the vertical broad drapery of a 
standing figure, undoubtedly a saint. A masterpiece of most sincere 
expression. 

Oak Panel: Height, 21% inches; width, 1834 inches. 

(In the right upper corner, behind the head of the 

woman, a piece of wood is set in.) 


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PAINTER KNOWN AS THE 
“MASTER OF THE HALF-LENGTH FEMALE 
FIGURES” 


Flemish school, beginning of the XVI Century. 


35—THE HOLY VIRGIN WITH THE CHILD AT A 
TABLE 


With downcast eyes she is looking at an illuminated prayerbook, of 
which Our Lord, seated on a little cushion and dressed in a trans- 
parent shirt, is turning the leaves. The Mother wears a blue-green 
dress with crimson mantle. The table is covered by a dark-green 
cloth. 

Oak Panel: Height, 11% inches; width, 9 inches. 


This attractive picture comes from a convent near Burgos. 





No. 35—THE HOLY VIRGIN WITH THE CHILD AT A TABLE 
By the “MASTER OF THE HALF-LENGTH FEMALE FIGURES” 





No. 36—THE HOLY VIRGIN WITH THE CHILD SEATED IN A 
LANDSCAPE 
By ADRIAEN ISENBRANDT 


ADRIAEN ISENBRANDT 


Born at Haarlem. Came to Bruges in the very first 
years of the XVI Century. Pupil there of Gerard David. 
Master in the Guild 1510. Dred 1551. 


30—THE HOLY VIRGIN WITH THE CHILD SEATED 
IN A LANDSCAPE 


Almost twilight. The Virgin is represented resting on the flight to 
Egypt. In the background on the right, at the entrance of a dark 
wood, St. Joseph is drawing water at a spring. On the left a view 
over hills and distant mountains, where a castle is seen and beyond 
a town, with its citadel. The landscape is beautiful in atmosphere. 
The dress of the Madonna is dark green, completed by a long cloak 
of green-gray, a shade lighter. At her feet an underskirt of very 
dark crimson is just visible. Before her in the foreground a long 
staff and a basket. 

Oak Panel: Height, 14% inches; width, 11% inches. 


PAINTER KNOWN AS THE 
“MASTER OF THE HALF-LENGTH FEMALE 
FIGURES” 


Flemish School, beginning of the XVI Century. 


37—THE HOLY VIRGIN LOOKING DOWN AT THE 
NUDE CHILD IN HER ARMS 


The Madonna is dressed in grey-green with dark green mantle, 
edged with gold. Over her hair a white kerchief is knotted. 
Background dark. Old frame with inscription: “Pater in manus 
tuas commendo spiritum meum. Luc. 23.” 


Oak Panel: Height, 15% inches; width, 11% inches. 


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No. 37—THE HOLY VIRGIN LOOKING DOWN AT THE NUDE CHILD 


IN HER ARMS 
By the “MASTER OF THE HALF-LENGTH FEMALE FIGUR 


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No. 38—THE HOLY VIRGIN WITH THE CHILD 
STYLE OF DIRCK BOUTS 


STYLE OF DIRCK BOUTS 


Born at Haarlem 1n the beginning of the XV century. 
Settled at Louvain and dted there 1475. 


38—THE HOLY VIRGIN WITH THE CHILD 


Half-length figure, dressed in grey with a red mantle, standing in 
front of a screen of gold-leather. On either side view of a land- 
scape. The Child leans its head on the bosom of the Mother, who 
bends hers towards her Son in a very tender attitude, holding Him 
closely in her arms. (This attractive picture may be an ancient 
copy of a lost original.) 

Oak Panel: Height, 17% inches; width, 1114 inches. 


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Born about 1430. Pupil of Rogier van der Weyden. 
Settled at Bruges. Died August 11, 1494. 


39—THE PENANCE OF ST. JEROME IN A LANDSCAPE 


The right wing of a rather large triptych, reduced to become com- 
plete in itself. The Saint is dressed in a ragged coat of a violet- 
brown color. Behind him in the foreground iris and other flowers 
are growing. In the background two hermits praying near a spring, 
and (on the left, half missing) the group of St. George liberating 
the princess by killing the dragon. Landscape and figures are excel- 
lent in workmanship and perspective. The picture is extraordinarily 
expressive. 

Oak Panel: Height, 18% inches; width, 13% inches. 


Formerly in the Collection of Vicomte Bernard d’Hendecourt, 
London. ( 


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No. 397—THE PENANCE OF ST. JEROME IN A LANDSCAPE 
By HANS MEMLING 





No. 4o—PORTRAIT OF A DUTCH HUMANIST 
By JAN VAN SCOREL 


JAN VAN SCOREL 


Born 1495. Pupil at Haarlem of Willem Cornelisz, 
and afterwards at Utrecht of Gossaert Mabuse. Trav- 
eled 1520 to Niirnberg where he stayed some time with 
Albrecht Diirer, and continued thence to Venice and 
Palestine. On the way back he was employed in Rome 
by the Dutch pope, Adrian VI (1523). Settled at 
Haarlem and Utrecht. Died 1562. 


40—PORTRAIT OF A DUTCH HUMANIST 


Half-length figure with a landscape background. The scholar, 
nearly full-face, is beardless, fair and blue-eyed, slightly sunburnt; 
his expression both earnest and resolute. He is dressed in an ample 
black robe with a cap of the same color. At the neck the white shirt 
with yellow embroidery is visible and just the tip of a cherry-red 
waistcoat. The left hand is resting on a sleeping brown dog; with 
a self-possessed gesture of the right he is pointing to the deserted 
bulk of the tower of Babel, rising in the background. At the foot 
of it a man, stripped by a robber, and some people hurrying away 
from the scene. On the right a slender tree and behind the scholar 
some monuments of ancient Rome are indicated: Trajan’s Column, 
the Pyramid of Caius Sextus, an obelisk. Sky with white clouds. 
The gesture, in showing the background, is intended to remind of 
the wickedness of mankind. The hand resting on the dog alludes 
to fidelity. A noble portrait of high importance, painted about 


1540. 
Oak Panel: Height, 26%4 inches; width, 201% inches. 


Note: See E. J. Hoogewerff, Jan van Scorel, peintre de la Renaissance hollandaise (‘The 
Hague 1923), p. 78. No. 14. 
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PETER BRUEGHEL THE YOUNGER 


Son of Peter Brueghel the Elder. Born at Brussels 
1564. Died in 1637 or 1638. Pupil of Gillis van Co- 
ninxloo. (He signed either Brueghel or Breughel.) 


4I—HARVEST 


Peasants harvesting in a cornfield. In the foreground one is drink- 
ing from a large stone bottle while a woman brings fruit in a basket 
for refreshment. In the distance a village and view over a valley. 
Painted by Peter Brueghel the son, from a drawing left by his 
famous father and dated 1568, now in the Kunsthalle at Hamburg. 
The “old” Brueghel died 1569. After his sketch the well-known 
engraving was made by Peter van der Heyden and a picture by 
Abel Grimmer in the Museum at Antwerp (n. 831). Our picture 
shows, in the middle distance, the figure of a boy bearing two 
pitchers, seen neither in the engraving nor in the composition as 
given by Grimmer. This detail and some others are important, 
because they prove that Peter Brueghel the son did not copy the 
print (nor Grimmer) as others have done. The landscape with 
church and tower is very like that in the copy the younger Brueghel 
made of his father’s picture representing the “Parable of the Blind.” 
(at Vienna; the original, also dated 1568, at Naples.) Signed, P. 
Breughel. Evidently transferred from a panel at some time. 


Height, 1644 inches; length, 22% inches. 


Note: See Van Bastelaer et de Loo, Peter Brueghel l’Ancien (1907), p. 261, 
and Friedlander, Peter Brueghel (1921), p. 122, 


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ATHERINE AND ST 


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By JEAN BE 


42—S1 


No 


LEGAMBE 


J 


JEAN BELLEGAMBE 


Born at Douat before 1480. Died there 1535. Con- 
temporary and follower of Quinten Metsys. 


42—ST. CATHERINE AND ST. BARBARA 


The wings of a triptych. The saints are represented nearly full- 
length, St. Catherine, crowned, holds in her hand the ring as sign 
of her betrothal with the Celestial Bridegroom. Behind her a 
dramatic landscape with mountains is visible. St. Barbara wears a 
red little cap and holds an open book with a palm. In the back- 
ground a fortified tower, her attribute. On the inner side of each 
panel an ornamented column in Renaissance style: and in the dis- 
tance the martyrdom of both saints. 


Oak Panel: Height, 32% inches; width, 11 inches. 


JOOS VAN DER BEKE 
(Called JOOS VAN CLEVE THE ELDER) 


Born at Antwerp about 1480. Master there in 1511. 

Died 1540. Worked several years in Italy and at Co- 

logne. Formerly known as “The Master of the Death 
of the Virgin.” 


43—THE HOLY TRINITY ENTHRONED AND TWO 
ANGELS 


God the Father is sitting on a monumental throne, supporting Christ 
as the Man of Sorrows; the Dove on His left shoulder; in the fore- 
ground two angels are holding a long linen sheet. In the beautiful 
coloring the crimson mantle of God and the pale yellow dress of 
the left angel predominate; special attention is given to the rich 
drapery. The typical landscape, visible on both sides of the throne, 
is less elaborate than is usual with the painter; but the atmosphere 
improves by the somewhat larger touch. The picture is the central 
panel of a triptych, the wings being lost and the top cut off. The 
composition closely follows a painting of the “Master of Flemalle” 
(contemporary of the Van Eycks), now in the Museum at Louvain. . 
Joos van Cleve borrowed the arrangement of his figures from that 
artist on other occasions. On the reverse side in characters of the 
seventeenth century, the following inscription: C. Dosena. Mele- 
gnano per Carpiano, in Certosa. Franco dt porto. (Melegnano is a 
little town halfway between Milan and Lodi.) 


Oak Panel: Height, 31% inches; width, 2234 inches. 


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No. 43—THE HOLY TRINITY ENTHRONED AND TWO ANGELS 
By JOOS VAN DER BEKE 


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44—CHRIST SHOWN TO THE MOB 
SCHOOL OF THE NETHERLANDS 


SCHOOL OF THE NETHERLANDS 


By an artist near to the Master of “Solomon’s Idolatry” 
in the Museum of Amsterdam. Second half of the 
AV Century. 


44—CHRIST SHOWN TO THE MOB 


With Pilate and Councillors He is standing under a Gothic porch 
to which a stone staircase from the right conducts. A man mount- 
ing the steps may be supposed to bring the message from Pilate’s 
wife. Before the palace a crowd of Jews. In the foreground two 
schoolboys fighting, and a dwarf. In the background a street where 
the two thieves are led to Golgotha. The hill is visible in the dis- 
tance. The colors are vivid but harmonious. The several heads 
are characterized in a remarkable way. 


Oak Panel: Height, 37% inches; width, 2734 inches. 


PEETER BALTENS 


Painter and engraver of Antwerp. Master of 1m- 
portance in the Guild since 1540. Died 1598. Worked 
in the style of Peter Brueghel the Elder. 


45—THE PARABLE OF THE SOWER, IN A LARGE 
LANDSCAPE 


In the foreground a field, where the devil, disguised, is sowing the 
tares, whilst the husbandmen sleep. ‘The field is bounded on the left 
by a country road, beyond which are several high elm trees, beau- 
tifully painted; in the middle distance a farm where linen is being 
bleached, and to the right a hamlet with a castle or abbey, not far 
from a river. In the background a fine view of mountains; from 
drifting clouds varying shadows are cast over the landscape. ‘The 
sleeping peasants with their horses and tools are well distributed 
over the foreground and middle distance. The picture, harmonious 
in coloring and splendidly preserved, must be considered, by its 
quality and size, a masterpiece of the painter. Only six or seven 
of his works are known, and this one appears the largest. Panel 
cut from one plank, without any joins. Signed on the left, on a 
stone, PEETER BALTENS. On the right the following inscription in 
Latin: 


“Zyzaniam pravus seminat sed tempore messis 
Videbunt Stygium crimina facta canem, 

Lucida quum coeli ducetur ad atria justus, 
Impius eterni preda Charontis erit.” 


(The evil-one sows the tares, but at the time of the harvest the crimes committed will 
reveal the infernal dog, when the just will be conducted to the shining courts of 
heaven, and the impious will be the prey of everlasting Charon.) 


Oak Panel: Height, 46 inches; length, 64% inches. 


Note: See Van Bastelaer et de Loo, Peter Brueghel l’Ancien, son oeuvre et son temps 
(Bruxelles 1907), p. 373. 


Formerly in the collection of M. Paul Delaroff, Petrograd. 


SNA.LIVA MALATd §¢ 
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GIOVANNI BATTISTA PIAZZETTA 


Born at Pietrarossa, 1682. Died in Venice, 1754. 


The most genial, after Tiepolo, of the Venetian patnt- 
ers of the XVIII Century 


406—THE ANNUNCIATION 


The Virgin is represented in an attitude of stupor, near the praying 
stool, at the announcement which the Angel, coming into her pres- 
ence, borne by a cloud, makes to her. The look of transport on 
the face of the Angel is very beautiful and the coloring of the Virgin, 
the white lining of her blue robe seeming to illumine the scene, is 
also very striking. i 
Height, 21 inches; length, 29 inches. 
Note: See, Aldo Rava, G. B. Piazzetta, Alinari (Firenze, 1921), page 63 (reproduction) ; 


Mostra della pittura Italiana del sei e Settecento in Palazzo Pitti; Bestetti e Tuminelli. 1922. 
No. 751. 


GIOVANNI BATTISTA TIEPOLO 


Born in Venice 1696. Died 1770. Piazzetta and Paolo 

Veronese were his teachers; but he has, by his great 

genius, elevated the Venetian style of painting of the 

“Settecento” to a height which excelled even that of 
the French painting of the same period. 


47—A BISHOP READING THE PRAYER 


The background is niche-fashioned, and in the extrados two figures 
in grisaille are lying along the curve of the arch. In the niche a 
bishop, assisted by an acolyte, reads the prayer from a book which 
a page, kneeling, holds up to him. A sketch for some unknown pic- 
ture. Tiepolo is particularly happy in his sketches, which show 
more the freshness of his imagination than the great compositions 
for which they are intended. The composition, forms and color 
all unite in pointing to Tiepolo as the author. 


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No. 47—A BISHOP READING THE PRAYER 
By GIOVANNI BATTISTA TIEPOLO 





No. 48—PORTRAIT OF A MAN WITH A BEARD 
By VINCENZO CATENA 


VINCENZO CATENA 


Venetian painter; worked under Giovanni Bellini. 


Died 1531. 


48—PORTRAIT OF A MAN WITH A BEARD 


Bust-size, three-quarter turned to right, with cap and dress of brown- 
ish-crimson on a dark background. The cold and flat treatment of 
the face, the breadth of the shoulders and other peculiarities point 
quite distinctly to Catena as the author. The picture was, long ago, 
enlarged by about one inch to the right, in order to make it fit the 


old frame. | 
Height, 18 inches; width, 15 inches. 


From the Fairfax Murray Collection. 


ANDREA DI BARTOLO 


A Stenese painter of the early XV Century, but still 
liege to Simone Martini and Lippo Memmi. 


49—MADONNA AND CHILD 


The Madonna is seated on a cushion in a flowering meadow, hold- 
ing the Child at her left. On high against a gold background, two 
angels praying. The tabernacle is modern, after the Venetian style. 
Andrea di Bartolo, who repeated his Madonnas in several paint- 
ings, never expressing himself in more than two or three themes, is 
here a little different, and more original than usual, but not less 
characteristic. 

Scalloped Panel: Height, 21 inches; width, 13 inches. 


Note: See, Andrea di Bartolo in Rassegna d’Arte Senese XIV. n. 1. p. 14, by Giacomo 
de Nicola. ; 


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No. 49—MADONNA AND CHILD 
By ANDREA DI BARTOLO 





No. 505—-MADONNA WITH CHILD BETWEEN TWO SAINTS AND 
TWO ANGELS ON A GOLD BACKGROUND 
By SANO DI PIETRO 


SANO DI PIETRO 


Born in Siena 1406. Died 1481. The most popular, 
perhaps, of the Stenese painters of the XV Century. 
He was a pupil of Sassetta. 


50—MADONNA WITH CHILD BETWEEN TWO SAINTS 
AND TWO ANGELS ON A GOLD BACKGROUND 


That this is a painting by Sano di Pietro, the typical composition 
of the Master proclaims, but the style of the forms (more minute, 
more detailed, more realistic) suggests Sassetta’s. The picture may 
be considered, therefore, as being the work of Young Sano executed 
in Sassetta’s studio, and, on that account, has an importance which 


cannot be gainsaid. 
Scalloped Panel: Height, 27 inches; width, 19 inches. 


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ITALO-BYZANTINE, XII-XIII CENTURY 


5I—THE DESCENT FROM THE CROSS 


With the traditional figures of Mary, John, the Magdalene, another 
Mary, Joseph of Arimathea and Nicodemus, it is truly a work 
of exceptional interest. It bears all the nobility of the Byzantine 
art of the golden period; the expression is more Roman than Ro- 
manesque. Observe the figure of Nicodemus, in the act of removing 
the nails from the feet of Christ; he is represented as a rough type of 
man with unkempt hair and beard and sinewy limbs; the treatment 
being somewhat after the impressionistic manner of some frescoes at 
Pompeii. The picture probably came from the East and may 
have been painted by a Greek artist, at Venice. 


Height, 20 inches; width, 18 inches. 


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NICHOLAS 


LORENZO VENEZIANO 


No. 52—LHE BIR RHLORES i 


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LORENZO VENEZIANO 


(Worked at Venice between 1357 and 1359) 


52—THE BIRTH OF ST. NICHOLAS 


In a room, the mother is lying in bed assisted by two women. In 
the foreground, two other women are tending the babe; and one of 
them, miraculously, receives the knowledge that the infant will be 
a Saint. ‘The description of this work, as well as that of No. 53, 
is derived from the narrative of the Saint’s life according to the 
Leggenda Aurea (The Golden Legend). The “enamel” of the 
colors and the general state of preservation are truly extraordinary. 


In original trilobed frame. 
Panel: Height, 29 inches; width, 2134 inches. 


LORENZO VENEZIANO 


(Worked at Venice between 1357 and 1359) 


53ST. NICHOLAS’ BOUNTY 


In a room, standing in an attitude of humility, before their father, 
are the three maidens whom St. Nicholas saves from dishonor by 
throwing to them, from a window, the three golden balls which are 
to be their dowry. It is a pendant to No. 52, and like it, is beautiful 
and perfectly preserved. 

Height, 29% inches; width, 2134 inches. 





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No. 54—MADONNA AND CHILD 
By SEGNA DI BONAVENTURA 


Me i J Cwrwnd GUd, 
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Worked between the end of the XII and the begins = NxoOYANC. (| [ tue (4 &Y 
ning of the XIII Century. With Ugolino, he was the in: ‘ Wied be 

most fatthful disciple of Duccto, the founder of the ; r) Soe tate Aor cee 


Stenese school of painting. ewe 


SEGNA DI BONAVENTURA 


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54—MADONNA AND CHILD Ub Tae Cen 


On a gold background is the half-length figure of the Madonna, 
turned three-quarters to the right, holding the Child. The face 
and hands of the Virgin distinctly point to Segna as the author. It 
was evidently the centre panel of a polyptych. 


Height, 34 inches; width, 23% inches. 
Formerly of S. Mintato det Tedescht, near Florence. AOA aN 


Note: See, Duccio and his School by G. De Nicola in the “Burlington Magazine,” Dec. 
1912, p. 146. 


GIOVANNI ANTONIO BOLTRAFFIO 


Born in Milan 1467. Died 1516. The most gifted of 

Leonardi da Vinci's pupils: a Madonna at Budapest 

and the “Casio” panel at the Louvre are among his 
works. 


55—THE VIRGIN WITH THE BOOK 


The half-length figure of the Madonna is shown behind the parapet 
on the ledge of which the Child is seated. Her right hand rests 
on a book, and with her left she is offering a flower to the Child. 
From two openings in the rear is seen the landscape of the back- 
ground. The pretty and novel idea of this composition pleased the 
Master so much that he reproduced it in a | picture which was in 


. 


the Loeser Collection at Florence. ( ©“! Gat .) 


Height, 21 inches; width, 15% inches. 


From the Crespi Collection at Milano, and Po ote that 1t was in the 
Colbacchint Collection at Venice. 


Note: See, A. Venturi, The Crespi Gallery (Milan, Hoepli 1900), p. 237. 


See, G. Carotti, G. A. Boltraffio in the National Italian Gallery (Rome, 1899), vol. 
IV, pp. 305 and 329. 


See, B. Berenson, North Italian Painters of the Renaissance. 


Mentioned in the catalogue of the Musée de Breca de Milan, pp. 181-182; also in 
Baedeker and in the Guide Joanne. 


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No. 55—THE VIRGIN WITH THE BOOK 
By GIOVANNI ANTONIO BOLTRAFFIO 


ONFINITTAYI AMOLLIA 49 
SHTHON NVILANAA DNOOA OML AO SLIVULYOd—9S ON 


“ENG Rad as We Mek Vn ale Nel Sane Udit? Lacipwe Gnaleae Cadbak eathot 





VITTORE BELLINIANO 


A Venetian painter of the first decade of the XVI Cen- 


tury. He was, for a time, assistant to Giambellino. 


50—PORTRAITS OF TWO YOUNG VENETIAN NOBLES 


Busts, turned slightly towards each other, dark background. The 
above is the description given to the picture by the authorities of 
the Kaiser Friedrich Museum of Berlin where it was on view until 
1922 (see, H. Posse, Die Gemdlde Galerie des Kaiser-Friedrich 
Museum |, 1913, p. 127. n. 12), in which year it was allowed to 
go in order to make place for a Durer. Because of the steadiness 
of the drawing and a certain grandiosity in the style of reproducing 
the characteristics of his subject, one were inclined rather to assign 
the work to Cariani. In the Louvre there is a replica of this, but 
not so powerful and of a later period. 


Height, 1734 inches; length, 24% inches. 


From the Solly Collection in London. 


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FILIPPINO LIPPI 


Born at Prato 1457. Died at Florence 1504. One of 
the most interesting (after Botticelli, to whom he owes 
much of his artistic attainments) of that phalanx of 
Florentine painters who made the XV Century famous. 


57—MADONNA AND CHILD 


The Madonna is seated, turned three-quarters to the left. She holds 
the Child in the act of blessing. The wall has two apertures which 
allow the landscape to be seen; very luminous and simple. ‘The 
composition, except the background, recalls the celebrated picture 
of Filippino in the Church of Santo Spirito at Florence, but one 
would say it belongs to a Jater period. Beautiful old frame. 


Height, 2634 inches; width, 19% inches. 


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By FILIPPINO LIPPI 


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No. 53—PORTRAIT OF A LADY 
By SEBASTIANO MAINARDI 


SEBASTIANO MAINARDI 


Born at San Gimignano circa 1450. Died 1513. 
Assistant to and a faithful follower of his brother-in- 
law, Domenico Ghirlandaio. 


585—PORTRAIT OF A LADY 


Bust length, turned three-quarters to the left, before a parapet. She 
holds a spray of carnations; her cap is garnet-red trimmed with gold 
and her dress is black. A dark red curtain, opening from the centre 
contrasts with the deep green of the background. ‘The portrait has 
all the characteristics of the best work of Ghirlandaio. The carved 
gilt frame is old, but it is not the original one. 


Height, 22% inches; width, 16 inches. 


Previously in the Prinzheim Collection at Munich. 


FRANCESCO GOYA 


Born at Fuendetodos 1746. Died at Bordeaux 1828. 

One of the most profound interpreters of humour and 

psychology, both in portraiture and “genre’’ subjects, 
of all times and schools. 


59—CARD PLAYERS 


Sheltered by ruins, in the midst of mysterious lights and shad- 
ows, several players are grouped around a card table. ‘The artist 
has depicted them at the moment that a quarrel is brewing. Note 
the various expressions on the faces of the figures telling the drama 
which is about to start: eagerness, delirious joy, scorn, indifference. 
On the lower right hand corner is the artist’s signature. 


Height, 15 inches; length, 2034 inches. 


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FRANCESCO GOYA 


Born at Fuendetodos 1746. Died at Bordeaux 1828. 

One of the most profound interpreters of humour and 

psychology, both in portraiture and “genre” subjects of 
all times and of all schools. 


60—INSIDE A WINE SHOP 


On the left the fireplace, which illumines the scene, and nearby a 
table spread for a repast. In the background a serried group of 
merry couples. On top of a chest two musicians playing upon in- 
struments; in the centre and to the right, couples, dancing. 
Flirtation, antics, ecstatic contemplation, passion, all these manifesta- 
tions of feeling blend together in a scene of inimitable verity. 


Height, 19% inches; length, 2434 inches. 


FRANCOIS BOUCHER 


Born in Paris 1703 and died there 1770. The most 
deservedly celebrated painter of the Court of Louis XV. 


61—SLEEPING WOMAN 


A young woman is lying, completely nude and asleep, upon a white 
sheet, showing her back to the onlooker. An ample red curtain, held 
up on the left, permits a view of the park. In this picture, the fresh 
touch and delicate treatment of the master are well in evidence. 
Over the feet is the signature and the date 1746. 


Height, 13 inches; length, 18 inches. 


From the Fairfax Murray Collection. 


YAHINO SIOONF Ad *E 
NVWOM DNIdaaATS—!9 ON 








No. 62—PORTRAIT OF A LADY 
By JEAN AUGUSTE INGRES 


JEAN AUGUSTE INGRES 


Born at Montauban 1780. Died at Paris 1867. 

A conventional painter of religious and allegorical 

subjects, he was full of distinction and life in portrait- 
painting. 


62—PORTRAIT OF A LADY 


Three-quarter length; seated on a sofa of red velvet in a room with 
green hangings, dressed in white satin and having flowers in her 
hair, on her sleeves and in her left hand. On the back of the chair is 
the painter’s signature. The gilt “pastiglia” frame is the original 


one. 
Height, 41% inches; width, 35 inches. 


PARIS BORDONE 


Born at Treviso 1500. Died at Venice 1571. 
63—AUTUMN 


On the right the figure of a woman, suggesting Diana, to whom a 

satyr offers grapes. Cupid is coming toward her with roses which 

are being picked by Flora, on the left. This allegory has a pendant 
in the Vienna Gallery. 

Height, 42% inches; length, 63 inches. 

Note: Belonged to the Paul Delaroff Collection of St. Petersburg, afterwards to the 


Sedelmeyer Collection at Paris. It is reproduced under No. 31, in the 1913 Catalogue of 
Paintings by Old Masters, of the Sedelmeyer Collection. 


ANOdUOT SIXFd *F 
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LIST OF ARTISTS REPRESENTED 
AND THEIR WORKS 
CATALOGUE 
NUMBER 
ANDREA DI BARTOLO 
Madonna and Child 49 


ANTWERP (School of; Follower of Quentin Metsys) 
The Holy Virgin and St. Joseph Adoring the Child, 


in the Ruined Stable 28 

BALTENS, PEETER 

The Parable of the Sower, in a Large Landscape 45 
BELLEGAMBE, JEAN 

The Holy Virgin with the Child 26 

St. Catherine and St. Barbara 42 
BELLINIANO, VITTORE 

Portraits of Two Young Venetian Nobles 56 
BOL, FERDINAND 

Man with a Black Skull-cap, Holding a Book 18 
BOLTRAFFIO, GIOVANNI ANTONIO 

The Virgin with the Book =¢ 
BORDONE, Paris 

Autumn 63 
BOUTS, Dirck (Style of) 

The Holy Virgin with the Child 38 
BOUCHER, FRANCOIS 

Sleeping Woman 61 


BRUEGHEL, PETER, THE YOUNGER 
Harvest 41 


CATALOGUE 
NUMBER 
BRUYN, BARTHOLOMEW, THE YOUNGER 


Portrait of a Young Magistrate a2 


BRUYN, BARTHOLOMEW, THE ELDER (Attributed to) 


Portraits of a Donor and His Wife in the Act of 
Adoration 34 


CATENA, VINCENZO 
Portrait of a Man with a Beard 48 


CLOUETS (School of the) 


Portrait Bust of Lord Burghley, Bailiff, Knight of 
the Order of the Garter 31 


CUYP, BENJAMIN GERRITSZ 
The Annunciation to the Shepherds 20 


D’ARTHOIS, JACQUES 
Landscape with Sunset 8 


DE VOS, CORNELIS 
Portrait of a Lady 30 


DOUW, SIMON JOHANNES VAN 
Two Horsemen Watering Their Horses at a Fountain 


near a Wall of Rocks 3 
DUCK, JAcos 
Love and Backgammon 10 


DYCK, ANTHONY VAN } 
A Life-size Bust Portrait of a Lady 29 - 


FLEMISH MASTER OF THE DEATH OF THE 
VIRGIN 


Madonna and Child | | 13 


CATALOGUE 
NUMBER 


FLEMISH SCHOOL OF THE XV CENTURY 


Portrait of Charles VII, King of France 12 
GOSSAERT, JAN (School of) 

The Holy Virgin Enthroned 27 
GOYA, FRANCESCO 

Card Players 59 

Inside a Wine Shop 60 


HERP, GUILLIAM (WILLEM) VAN 
The Four Seasons: Spring, Summer, Autumn, Winter 7 


INGRES, JEAN AUGUSTE 
Portrait of a Lady : 62 


ISENBRANDT, ADRIAEN 
The Holy Virgin with the Child, Seated in a Landscape 36 


ITALO-BYZANTINE, XII-XIII CENTURY 
The Descent from the Cross si 


JANSSENS, CorneELis (Called JANSSENS VAN CEULEN) 
Portrait of a Lady 17 


KOEDYCK, Isaac 
An Interior with a Family Group 14 


LELY, Sirk PETER (PIETER VAN DER FAES) 
Portrait of a Lady 19 


LIPPI, FILIpPINo 
Madonna and Child o7 


LOWER RHINE (School of the) 
The Mourning for Christ 23 


MAINARDI, SEBASTIANO 
Portrait of a Lady 


MASTER OF THE HALF-LENGTH FEMALE 
FIGURES (Known as THE) 


The Holy Virgin with the Child at a Table 
The Holy Virgin looking down at the Nude Child 
in her Arms 


MASTER OF MOULINS (THE) 
Life size, half-length Figure of a Lady in the 
Attitude of Prayer 


MEMLING, Hans 
The Penance of St. Jerome in a Landscape 


MEMLING, Hans (School of) 
Virgin and Child with St. Anne 


MIEREVELD, MICHIEL JANSZOON VAN 
Portrait of a Bearded Gentleman 


MOLENAER, NICOLAAS (KLAEs) 
Winter Landscape 


MONNOYER, JEAN BAPTISTE 
Flowerpiece 


NETHERLANDS (School of the) 
Christ Shown to the Mob 


OOST, JACQUES VAN, THE ELDER 
Merry Company 


PATINIR, JOACHIM 
(a) Landscape with a Convent 
(b) Landscape with St. Jerome as Hermit 


PIAZZETTA, GIOVANNI BATTISTA 
The Annunciation 


CATALOGUE 
NUMBER 


58 


35 


37 


34 


39 


II 


15 


22 


RUYSCH, RACHEL 
A Basket of Flowers on a Red Marble Table 
SANO DI PIETRO 
Madonna with Child between two Saints and two 
Angels, on a Gold background 


SANTVOORT, DiIRCcK VAN 
Portrait of a Lady 
SAVERY, ROELANDT 
A Rocky Woodland Landscape 


SCOREL, JAN VAN 
Portrait of a Dutch Humanist 


SEGNA DI BONAVENTURA 
Madonna and Child 


STEEN, JAN 
The Convalescent 


TIEPOLO, GIOVANNI BATTISTA 
A Bishop Reading the Prayer 


TILENS, JAN 
(a) A Mountainous and Wooded Landscape 
(b) A Mountainous Landscape 
VAN DER BEKE, Joos (Called JOOS VAN CLEVE, 
THE ELDER) 
The Holy Virgin with the Child, Sitting on a Rich 
Throne of Marble 
The Holy Trinity Enthroned, and Two Angels 


VAN DER MEULEN, ADAM FRANS 


CATALOGUE 
NUMBER 


2 


50 


16 


A Wooded Landscape with a Company of Nine People 5 


VENEZIANO, LORENZO 
The Birth of St. Nicholas 
St. Nicholas’ Bounty 


52 
53 





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